Monday, 27 February 2012
LO2:
Task Five:
This is a scene from Step Brothers staring Will Ferrell And John C. Reily, the clip i have chosen to remake and edit is the famous dinner table scene. In involves four characters,dinner settings and a family dinning room in order to recreate the scene. that lasts just over four minites.
Risk Assessment
Storyboards-The entire scene is entirely comprised of mid shots (MS) and two shots (TS). the opening shots is a two shot of Dale (Ryan applying ketchup to his dinnerthis proceded by a series of three cosecutive mid over shoulder shots befor linking back to futher mid shots (MS) during the lengthy disscusion over "fancy sauce" the shot last approximatley 3-4 seconds in order for the viewer to absorb the most information from what is being depicted on screen. During this scene i will make use of jump cuts (JC) to insure that my remake is as closely inkeeping with the conventions of the original as possible.
Date&Days-Friday 23rd March 2012
Contacts-Sarah Ives-Rider
Email:sive@henleycol.ac.uk
SCRIPT
NOTE:
· Shot changes almost every line.
· Mid shots, over shoulder shots, two shots.
Robert:
Dale that’s enough ketchup, come on dale.
Dale:
I like it.
Nancy:
Dale I don’t know if you… You might want to try this, I make a sauce, we call it fancy sauce
Brendan:
mm, for me.
Nancy:
That, um, Brendan really likes with his chicken nuggets…
Brendan:
It’s my fancy sauce.
Nancy:
Well when Brendan finishes, um, I’ll give you some of this, it’s- it’s ketchup and mayonnaise mixed together
Brendan:
mm, it’s so good.
Dale:
I want some fancy sauce.
Nancy:
Yeah.
Brendan:
Not, no, I’m using it.
Robert:
Looks good.
Dale:
Can I have fancy sauce?
Nancy:
Of course, heh, of course, um…
Brendan:
I’m using it right now
Nancy:
Okay, so let’s just-
Robert:
You wanna try it?
Dale:
Yeah
Nancy:
Let’s just let him try some
Dale:
Yeah I really would like some
Brendan:
Just one last spoonful
Nancy:
I think- I think you’ve got enough there Brendan. So here you go
Robert:
(sigh of relief)
Dale:
Thanks
Nancy:
It’s ketchup and mayonnaise
Dale:
Urgh, uh-uh, I don’t like it. It smells weird.
Robert:
I’ll try some
Nancy:
Okay, you want some?
Robert:
Sure, absolutely
Nancy:
Okay
Robert:
You don’t mind, do you Brendon?
Nancy:
Brendan, Brendan
Brendan:
I’m not comfortable
Robert:
No it’s okay, it’s probably not good after fish anyway
Dale:
But my dad’s king of the castle so if he wants fancy sauce he should-
Robert:
No it’s oaky
Brendan:
If he wants fancy sauce he should make his own batch
Nancy:
So you know what? Today, when you were driving around Dale was telling me that he’s really into kung-fu, and I was telling him that you’re really into kung-fu as well
Brendan:
I have a green belt. Read it and weep.
Dale:
I don’t believe in belts. There should be no ranking system for toughness, but one time I wrestled a giraffe to the ground with my bare hands.
Robert:
That’s not true Dale, don’t be ridiculous
Nancy:
So Dale, what have you been up to recently?
Dale:
I manage a baseball team
Nancy:
Oh, little league?
Dale:
Fantasy league.
Dale:
Why don’t you take a picture it’ll last longer
Robert:
Why don’t you stop being so confrontational, Dale
Dale:
I’m not the one staring at me!
Robert:
So Brendan, how about you? I know you used to work at Petsmart
Brendan:
That’s right Mr Doback
Robert:
Call me Robert
Brendan:
That’s right Robin
Robert:
It’s Robert
Nancy:
Brendan’s a really talented person, a very gifted singer
Brendan:
I’m really, really good.
Dale:
How good
Brendan:
I’ve been called ‘The Songbird’ of my generation, by the people who have heard me, that good.
Nancy:
The only trick is, Brendan’s very particular about who he sings in front of, like I’m his mom for example and I’ve only heard him sing twice
Dale:
It’s funny that you say that, ‘cause, I can sing too. I’ll sing right now.
IF YOU WANNA GET DOWN ON THESE HAIRY BALLS,
WHY DON’T YOU JUMP RIGHT IN?
WHY DON’T YOU JUMP RIGHT IN?
Robert:
HEY!
Dale:
IT’S A CROTCH PARTY RIGHT UP IN HERE,
WHY DON’T YOU LICK ON THIS BIG JOHN
WHY DON’T YOU LICK ON THIS BIG JOHN
Robert:
Dale! Stop it! Stop it, Stop it!
Brendan:
That’s cute, I remember when I had my first beer
Dale:
That’s so funny the last time I heard that I laughed so hard I fell of my dinosaur!
Robert:
Stop, stop right now, back off. It’s alright, it’s okay.
(Brendan cries)
Dale:
He said a mean thing first.
Robert:
Look guys, you know what, sleeping arrangements. It’s gonna be different, but because Dale refused to give up his office drum set, you two… Dale, you and Brendan are going to have to share a room, it’s just temporary.
Brendan:
Mom, we didn’t talk about this.
Nancy:
Well it’s going to be an exciting adventure.
Robert:
Do you want to show him the room, Dale, and where he can put his stuff?
(Dale huffs)
Nancy:
That’s very kind
Dale:
Goodnight Nancy, and hey listen, I like to have a lot of fresh fruit around me and chocolate chips in my pancakes. K? Write that down, so you don’t forget.
Robert:
She won’t forget
Dale:
She’s mom now, so…
Brendan:
Goodnight mom, goodnight Mr Doback
Robert:
Goodnight Brendan
(Brendan and Robert awkwardly shake hands after hesitantly debating whether to hug or shake hands, Brendan just walks off)
LO1:
Learning Outcome 1: Understand the development and principles of editing
This 50-second silent film shows the entry of a train pulled by a steam locomotive into a train station in the French coastal town of La Ciotat Like most of the early Lumière films, L'arrivée d'un train en gare de La Ciotat consists of a single, unedited view illustrating an aspect of everyday life.
Thttp://en.wikipedia.org/wiki/L'Arriv%C3%A9e_d'un_train_en_gare_de_La_Ciotathere is no apparent intentional camera movement, and the film consists of one continuous real-time shot.
lumiere brothers
Auguste and Louis Lumiere are credited with the world's first public film screening on December 28, 1895. The showing of approximately ten short films lasting only twenty minutes in total was held in the basement lounge of the Grand Cafe on the Boulevard des Capucines in Paris and would be the very first public demonstration of their device they called the Cinematograph which effectively functioned as camera, projector and printer all in one.
http://www.alchemists.com/visual_alchemy/lumiere.html
Perhaps most important was Louis’s decision to incorporate the principle of intermittent movement using a device similar to that found in sewing machines. This was something Edison had rejected as he struggled to perfect projection using continuous movement. The brothers kept their new invention a closely guarded secret with Auguste organising private screenings to invited guest only.
In 1925, in order to commemorate the Revolution of 1905, the Communist Party commissioned the renowned film "Potemkin" (also called " battleship Potemkin"). The film was made in the Black Sea port of Odessa. In 1958 it was voted the best film ever made, by an international poll of critics.
Eisenstein's next film was the two hour film, "October" or "Ten Days That Shook the World", dealing with the shifts of power between the 1917 February and October revolutions, Lenin's entering the scene and the struggle of the Bolsheviks with their opponents.
Eisenstein sets his camera for the kind of unconventional angle that made him a great director. "Old and New
October was one of two films commissioned by the Soviet government to honour the tenth anniversary of the October Revolution (the other was Vsevolod Pudovkin's The End of St. Petersburg). Eisenstein was chosen to head the project due to the international success he had achieved with The Battleship Potemkin in 1925 . Nikolai Podvoisky, one of the troika who led the storming of the Winter Palace was responsible for the commission. The scene of the storming was based more on the 1920 re-enactment involving Lenin and thousands of Red Guards, witnessed by 100,000 spectators, than the original occasion, which was far less photogenic. This scene is notable because it became the legitimate, historical depiction of the storming of the Winter Palace owing to the lack of print or film documenting the actual event, which led historians and filmmakers to use Eisenstein's recreation. This illustrates October's success as a propaganda film.
http://en.wikipedia.org/wiki/October:_Ten_Days_That_Shook_the_World
Fluid tracking camera which can access anywhere; a digital age innovation in camera movement pioneered by David Fincher and Kevin Tod Haug along with BUF Paris (perhaps inspired by earlier developments of Max Ophüls and Stanley Kubrick).
[Silhouettes] Frequently has characters in the shadows where you cannot make out their face (Kevin Spacey in Se7en (1995) and Brad Pitt in Fight Club (1999)).
His films often end in a suicide, either attempted or successful
His films often have low-key lighting with green or blue tinted color temperature.
Wide shots
Frequently casts Brad Pitt (Se7en (1995), Fight Club (1999), The Curious Case of Benjamin Button (2008)).
Downbeat endings
Often displays end credits as slide shows (Fight Club, Zodiac, The Curious Case of Benjamin Button) or scrolling downward (Se7en) rather than the traditional upward scroll.
Low angles
Backstories filled with flashbacks
References to the band 311 (poster in Fight Club, cop car radio call in Zodiac)
Stationary shot, unfocused background with character walking into focus
Posters almost always feature close-ups of characters' faces
Known for demanding many takes from his actors
Frequently collaborates with Trent Reznor and Atticus Ross for musical scores
http://www.imdb.com/name/nm0000399/bio#trademark
-Trainspotting/Choose Life
Importing footage:By selecting Impost from the drop down file menu you can select all of the footage from a folder (or multiple folders finish by pressing select and all the clips or images you have selected will be added to your footage pool which can be seen in the top left hand corner of the image below.
Import menu:
Cutting clips:play dragging the clips from your left hand pool to drop on the left hand of the two video frames, you may then proceed to utilise the command keys to select the piece of the clip your particularly require the length and sequence will be shown highlighted in blue beneath the clip thumbnail on your time line.
arranging footage:Once you have cut your clip to the designated size required you can drag your clip from the left hand frame and place it on your time line sequencer beneath it at any point on the time line you desire, the clip can then be moved at anytime if required to adjust the chronology.
Applying Effects:On the bottom left hand side of your screen you will find an effects pool with multiple drop down options such as video effects,video transitions,audio effects etc. By selecting the effects option you have access to any number of varied effects which can use to whatever ends you desire you simply have to drag and drop the effect upon the clip. Its properties can then be adjusted in the drop down menu located in the left hand video frame, you must select the name of the effect and various adjustments then become available dependant upon the effect chosen.
Applying Transitions:On the bottom left hand side of your screen you will find an effects pool with multiple drop down options such as video effects,video transitions,audio effects etc. By selecting the effects option you have access to any number of varied effects which can use to whatever ends you desire you simply have to drag and drop the transition upon the clip. Its properties can then be adjusted in the drop down menu located in the left hand video frame, you must select the name of the transitions and various adjustments then become available dependant upon the transition chosen.
Saving the Project: You save the project much as you would any other project or document by going to file selecting save as and placing it in a folder of your choice.
Exporting the Project:in order to export the project you must once again head to file head down to export and select media the menu featured above will then appear. The green line represents how much of your video is going to exported this may not be fully highlighted if so drag the green cursor to the end of the line so that it is fully filled. You may then proceed to the green coloured output name, by clicking on said output name you will be able to determine both the file name and its location in which it will be exported to.
Thttp://en.wikipedia.org/wiki/L'Arriv%C3%A9e_d'un_train_en_gare_de_La_Ciotathere is no apparent intentional camera movement, and the film consists of one continuous real-time shot.
Auguste and Louis Lumiere are credited with the world's first public film screening on December 28, 1895. The showing of approximately ten short films lasting only twenty minutes in total was held in the basement lounge of the Grand Cafe on the Boulevard des Capucines in Paris and would be the very first public demonstration of their device they called the Cinematograph which effectively functioned as camera, projector and printer all in one.
http://www.alchemists.com/visual_alchemy/lumiere.html
Perhaps most important was Louis’s decision to incorporate the principle of intermittent movement using a device similar to that found in sewing machines. This was something Edison had rejected as he struggled to perfect projection using continuous movement. The brothers kept their new invention a closely guarded secret with Auguste organising private screenings to invited guest only.
The first of such screenings occurred on 22nd March 1895 at 44 Rue de Rennes in Paris at an industrial meeting where a film especially for the occasion, Workers leaving the Lumière factory, was shown. Unlike Edison, the Lumière Brothers were quick to patent the Cinématographe outside of their native France, applying for an English Patent on April 18th 1895. The brothers continued to show their invention privately, again on June 10th to photographers in Lyon.
Such screenings generated much discussion and widespread excitement surrounding this new technology - in preparation for their first public screening on 28th December at the Grand Cafe on Paris’s Boulevard de Capuchines. The programme of films on show that day was as follows:
La Sortie de usines Lumière (1894)
La Voltige (1895)
La Peche aux poissons rouges (1895)
La Debarquement du congres de photographie a Lyons (1895)
Les Forgerons (1895)
L’ Arroseur arrose (1895) Repas de bebe (1895)
Place des Cordeliers a Lyon (1895)
La Mer (1895)
La Voltige (1895)
La Peche aux poissons rouges (1895)
La Debarquement du congres de photographie a Lyons (1895)
Les Forgerons (1895)
L’ Arroseur arrose (1895) Repas de bebe (1895)
Place des Cordeliers a Lyon (1895)
La Mer (1895)
D.W.Griffith (1875-1948)
During his five years at Biograph, Griffith took the raw elements of moviemaking as they had evolved up to that time — lighting, continuity, editing, acting — and wrought a medium of extraordinary power and nuance. Early short films such as A CORNER IN WHEAT (1909), FIGHTING BLOOD (1911), and UNDER BURNING SKIES (1912) show the hallmarks of Griffith’s style already emerging: crosscut editing to build tension, acute observation of details to heighten reality, and the use of the camera as a vehicle for expounding his views on society.
A list of Griffith`s work is as follows in the link below.
D.W. Griffith's 1915 Civil War epic, The Birth of a Nation, with its groundbreaking camerawork -- including close-ups, night photography, and tracking shots -- transforms forever the way films are made and images perceived.
Sergei Eisenstein
In "Strike", which recounts the repression of a strike by the soldiers of the tsar, Eisenstein juxtaposed shots of workers being mowed down by machine guns with shots of cattle being butchered in a slaughterhouse. The effect was striking, but the objective reality was falsified. In 1925, in order to commemorate the Revolution of 1905, the Communist Party commissioned the renowned film "Potemkin" (also called " battleship Potemkin"). The film was made in the Black Sea port of Odessa. In 1958 it was voted the best film ever made, by an international poll of critics.
Eisenstein's next film was the two hour film, "October" or "Ten Days That Shook the World", dealing with the shifts of power between the 1917 February and October revolutions, Lenin's entering the scene and the struggle of the Bolsheviks with their opponents.
Eisenstein sets his camera for the kind of unconventional angle that made him a great director. "Old and New
http://en.wikipedia.org/wiki/October:_Ten_Days_That_Shook_the_World
David Fincher-Trade Mark
[single frame insert] His movies often features several single frames that flash on the screen in the middle of a scene (Fight Club (1999)).Fluid tracking camera which can access anywhere; a digital age innovation in camera movement pioneered by David Fincher and Kevin Tod Haug along with BUF Paris (perhaps inspired by earlier developments of Max Ophüls and Stanley Kubrick).
[Silhouettes] Frequently has characters in the shadows where you cannot make out their face (Kevin Spacey in Se7en (1995) and Brad Pitt in Fight Club (1999)).
His films often end in a suicide, either attempted or successful
His films often have low-key lighting with green or blue tinted color temperature.
Wide shots
Frequently casts Brad Pitt (Se7en (1995), Fight Club (1999), The Curious Case of Benjamin Button (2008)).
Downbeat endings
Often displays end credits as slide shows (Fight Club, Zodiac, The Curious Case of Benjamin Button) or scrolling downward (Se7en) rather than the traditional upward scroll.
Low angles
Backstories filled with flashbacks
References to the band 311 (poster in Fight Club, cop car radio call in Zodiac)
Stationary shot, unfocused background with character walking into focus
Posters almost always feature close-ups of characters' faces
Known for demanding many takes from his actors
Frequently collaborates with Trent Reznor and Atticus Ross for musical scores
http://www.imdb.com/name/nm0000399/bio#trademark
-Fight Club Trailer
Se7en Trailer-
The First film ever to be shown to the general public had no
what we would term recognisable editing it was simply shot and show in its
original format. This later developed into manual cutting ie the traditional
application of scissors to film and rearranging said film by "re sticking"
it in a linear fashion to create meaning.Futher in to the future nonlinear editing began to emerge
in film production swiftly followed by the appearance of subliminal propaganda.
The culminating result was an array of modern day editing genius from the likes
of David Fincher,fades,transitins,timecodes,effects,timing shots,non-linear editing
as well as advanced editing software.
Task Three
Creating meaning through collage, tempo and timing
Joining Images:Between the times of 0:00 and 0:10 second there are multiple examples of image joining during the opening chase sequence cutting form face to feet over and over again smoothly making the shot images easy on the viewers eye without them noticing leaving a continuous flow of shots.
Tempo: Rapid tempo switching between long shots and slow edits with the longets cut lasting 23 seconds and the shortest a single second, however the action and soundtrack http://www.youtube.com/watch?v=jQvUBf5l7Vw implemented into the sequence still grant the sequence a greater feel of pace despite this.
Timing:With regards to timing during this sequence the camera work does not directly correspond to the overlaying narration (Rentons Rant) and instead for the clip makes use of a technique called medias res ,non linear format.
Story- centred Editing and the construction of meaning
Editing and spaces:
Arranging the order of events:
Shot types:
- Ground shot-opening shot (establishing shot) set the tone for the sequence
- Tracking shot/Two shot-focus on characters reactions during the foot chase
- Ground level tracking shot-Enables the a greater feeling of pace for the viewer
- POV(point of view shot)-Show Rentons point of view giving the audience a shock/jump when the car pulling out collides with Renton causing him to fall over the bonnet
- Wide angle shot- Down the street as spud escapes enhances tension whilst bringing forth a sense of relief.
- Mid shot-draws attention to Rentons unfortunate predicament before being removed from the shot by being brought to the floor by the pursuing police officer.
- Sweep-Rapid sweep of the banners on the edge of a football pitch to act as an effective transition between two sequences of still shot preventing a "dodgy" edit and ruining the fluid motion of the shots and their content.
- Low angle pan-Focus on the action occurring on the ground of the asrto pitch be for closing in on a characters reactions in this case Sick Boy.
- Freeze Frame- used to introduce the five key protagonists
- Worms eye view-primarily used for comic effect to mock the protagonist poor choice of attire and the outdated fashions worn by said individuals.
- Close up-used to focus on Rentons debilitated state
Task Four
Importing footage:By selecting Impost from the drop down file menu you can select all of the footage from a folder (or multiple folders finish by pressing select and all the clips or images you have selected will be added to your footage pool which can be seen in the top left hand corner of the image below.
Import menu:
Cutting clips:play dragging the clips from your left hand pool to drop on the left hand of the two video frames, you may then proceed to utilise the command keys to select the piece of the clip your particularly require the length and sequence will be shown highlighted in blue beneath the clip thumbnail on your time line.
arranging footage:Once you have cut your clip to the designated size required you can drag your clip from the left hand frame and place it on your time line sequencer beneath it at any point on the time line you desire, the clip can then be moved at anytime if required to adjust the chronology.
Applying Effects:On the bottom left hand side of your screen you will find an effects pool with multiple drop down options such as video effects,video transitions,audio effects etc. By selecting the effects option you have access to any number of varied effects which can use to whatever ends you desire you simply have to drag and drop the effect upon the clip. Its properties can then be adjusted in the drop down menu located in the left hand video frame, you must select the name of the effect and various adjustments then become available dependant upon the effect chosen.
Applying Transitions:On the bottom left hand side of your screen you will find an effects pool with multiple drop down options such as video effects,video transitions,audio effects etc. By selecting the effects option you have access to any number of varied effects which can use to whatever ends you desire you simply have to drag and drop the transition upon the clip. Its properties can then be adjusted in the drop down menu located in the left hand video frame, you must select the name of the transitions and various adjustments then become available dependant upon the transition chosen.
Saving the Project: You save the project much as you would any other project or document by going to file selecting save as and placing it in a folder of your choice.
Exporting the Project:in order to export the project you must once again head to file head down to export and select media the menu featured above will then appear. The green line represents how much of your video is going to exported this may not be fully highlighted if so drag the green cursor to the end of the line so that it is fully filled. You may then proceed to the green coloured output name, by clicking on said output name you will be able to determine both the file name and its location in which it will be exported to.
Principles of editing (sarah)
View more presentations from 952501.
An Example of linear narrative (Your Highness)-http://www.youtube.com/watch?v=FplWxtPzWY8
An Example of linear narrative (Your Highness)-http://www.youtube.com/watch?v=FplWxtPzWY8
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